The Jazz Guitar Chord Dictionary
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  1. #76

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    Quote Originally Posted by grahambop
    Thanks M!

    Is it good? Did you enjoy yourself reading it?

    G.
    Hi, G,
    I did read "Justine" in my early twenties and despite its author's prurient reputation, it was rather pedestrian . . . however, did I enjoy myself? Not as much as the tattered novels I found in my brother's closet when he was 14 . . . but that's another story altogether.
    In compliant repentance . . . Ave Verum Corpus . . . Marinero

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    The Jazz Guitar Chord Dictionary
     
  3. #77

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    Quote Originally Posted by grahambop
    Or try using a strap when seated, if you don't already. It helps keep your back straight, if you position everything accordingly.
    Thx G. already using a strap when sitting (standing is not an issue though).......I 've tried different positions sitting ..I held the guitar more like Wes M. sort of slopping on the belly style and also tried the Joe Pass.. more upright finger board to even out my shoulders ...so far, neither are perfect....

    M. thx, I already have a solid body I like and am actively looking for a thin line style ..I'm not a big guy so I do prefer smaller guitars 15in and thinner...Used to have a 79 GB10... but sold that ages ago...also had a gibson ES 150 TD (40yrs ago that was not an issue sitting or standing) I really liked playing that one with the super reverb....all gone too .....

    Starting all over ...

    Ray

  4. #78

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    Quote Originally Posted by Jimmy blue note
    I ask this of a lot of my friends: "When is the last time you discovered something that redefined what music is to you, in theory and in practice?"
    It's an amazing revelation to hear what Julian Lage, Sco, Friz, Ben tell me.

    It's very different from what they thought when they were younger.
    what do they tell you ?

  5. #79

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    Quote Originally Posted by Alter
    Out of curiosity, what would a 10 hour daily practice schedule contain?
    Only Giant Steps

  6. #80

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    Quote Originally Posted by Christian Miller
    Only Giant Steps
    In 32nd notes only. Tempo at about 200. They're long lines with short notes. Baby Steps.

  7. #81

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    Quote Originally Posted by pingu
    what do they tell you ?
    Very different and surprising insights each of them. I'm fortunate to be able to have the time to talk about "non magazine article question" topics and issues with a great number of players.
    The overall impression is that finding out what makes you an individual as a maturing human being becomes much more important than the technical ability in kinesthetics. Having a personal template and personal challenges and insights outside of the strictly musical world becomes the focus for music as art and not a platform for crafty mastery.
    Maybe it's just the people I know, but finding joy in the playing process and love of life in all aspects is what all those cats convey. Sco and Friz love the magic of things they had in their teens, Ben loves uncovering the deepest strains of harmony in real time revelation (harmony they don't even TEACH in music school), Mick is working with harmonic forms based on minimalist (dyad and intervallic trio richness construction), Julian is the young kid on the block, his approach is intimate, essential, exploratory and has an almost obsessive avoidance of genre traps (he's not into thinking the ways that jazz is usually taught: He turned down a teaching position at Berklee and recently left a teaching gig at NEC because the conventions of academic education seemed counter to the emerging multi dimensionaity that makes improvisational music what it is to him). Wolfgang and Ben both place a great emphasis on writing and composing skills, and all those cats say listening obsessively and immersively cannot be undervalued.

    There comes a point where one needs to master the instrument both Aurally and Kinesthetically. In that process though, there's the real danger of the technical outpacing the ear, and also the imagination. You have to teach yourself to make insightful connections. That's stuff that happens away from the instrument while you're learning who you are. Mick and I had an art music and drawing session we held every week. He said what he learned about music through art was the most important thing in his musical life.
    How, where and when do you learn about weight of line, shadow, meaning through implied and overt contrast, commitment to a motif, knowing when to let go and move on? Mature musicians ask themselves these things, and they find their own answers.
    THAT's what you play.

  8. #82

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    Quote Originally Posted by Alter
    Out of curiosity, what would a 10 hour daily practice schedule contain?
    1000 choruses of rhythm changes.

  9. #83

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    Quote Originally Posted by Jimmy blue note
    Very different and surprising insights each of them. I'm fortunate to be able to have the time to talk about "non magazine article question" topics and issues with a great number of players.
    The overall impression is that finding out what makes you an individual as a maturing human being becomes much more important than the technical ability in kinesthetics. Having a personal template and personal challenges and insights outside of the strictly musical world becomes the focus for music as art and not a platform for crafty mastery.
    Maybe it's just the people I know, but finding joy in the playing process and love of life in all aspects is what all those cats convey. Sco and Friz love the magic of things they had in their teens, Ben loves uncovering the deepest strains of harmony in real time revelation (harmony they don't even TEACH in music school), Mick is working with harmonic forms based on minimalist (dyad and intervallic trio richness construction), Julian is the young kid on the block, his approach is intimate, essential, exploratory and has an almost obsessive avoidance of genre traps (he's not into thinking the ways that jazz is usually taught: He turned down a teaching position at Berklee and recently left a teaching gig at NEC because the conventions of academic education seemed counter to the emerging multi dimensionaity that makes improvisational music what it is to him). Wolfgang and Ben both place a great emphasis on writing and composing skills, and all those cats say listening obsessively and immersively cannot be undervalued.

    There comes a point where one needs to master the instrument both Aurally and Kinesthetically. In that process though, there's the real danger of the technical outpacing the ear, and also the imagination. You have to teach yourself to make insightful connections. That's stuff that happens away from the instrument while you're learning who you are. Mick and I had an art music and drawing session we held every week. He said what he learned about music through art was the most important thing in his musical life.
    How, where and when do you learn about weight of line, shadow, meaning through implied and overt contrast, commitment to a motif, knowing when to let go and move on? Mature musicians ask themselves these things, and they find their own answers.
    THAT's what you play.
    Hi, J,
    Five Star Post of the day!
    Marinero

  10. #84

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    Quote Originally Posted by Christian Miller
    Only Giant Steps
    I have done this btw. It really doesn't work very well

  11. #85

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    Quote Originally Posted by emanresu
    I have done this btw. It really doesn't work very well
    Ask yourself "How long did it take John Coltrane, how many years of playing, did it take him until HE himself was ready to "get it"?

  12. #86

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    Hm. Yeah. I think 1 year 10 hours a day won't even give a correct estimate how much one or another goal takes.

  13. #87

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    Very few teachers, or even schools for that matter, address the many layers of integration needed to become a proficient and creative musician, no less a jazz soloist. It's my opinion that there was such strength in the early generations of players because life on a big band section player on the road taught through music, doing it and listening to and for the unquantifiable knowledge we recognize but seem not to be able to teach these days.
    I think you can do a lot more with your time if you can find a duo partner, or a few (bass teaches you harmonic and melodic control, a vocal duo will teach you listening in interpretive skills, a horn player in a duo is great bass and chord training, guitar duo can teach you a lot about what you can and can't do...).

    Do you have others you play regularly with? Can you find places to play where you can find others you play regularly to?

    Go for a well rounded approach. Use the music to keep it musical.

  14. #88

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    Quote Originally Posted by Jimmy blue note
    Very few teachers, or even schools for that matter, address the many layers of integration needed to become a proficient and creative musician, no less a jazz soloist. It's my opinion that there was such strength in the early generations of players because life on a big band section player on the road taught through music, doing it and listening to and for the unquantifiable knowledge we recognize but seem not to be able to teach these days.
    I think you can do a lot more with your time if you can find a duo partner, or a few (bass teaches you harmonic and melodic control, a vocal duo will teach you listening in interpretive skills, a horn player in a duo is great bass and chord training, guitar duo can teach you a lot about what you can and can't do...).

    Do you have others you play regularly with? Can you find places to play where you can find others you play regularly to?

    Go for a well rounded approach. Use the music to keep it musical.
    I have a piano player friend who I play with from time to time. As for places there used to be one but the group stopped playing there for some reason. As I said I'll think about it

  15. #89

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    scales in all 12 keys..?? for 10 hours..??

    do your self a BIG favor..record your practice session..play it back (or as much of it as you can take)..is that what you want to play? are you sure..?
    create a backing track of progressions with the chords of the scales your playing

    time/material management is very important in learning basic skills..

    learn basic chords (major and minor triads) and their inversions in all keys and positions

    start with some blues progressions and tunes

    now you will have something to play basic scales over

  16. #90

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    Just finished practicing today

    Quote Originally Posted by wolflen
    scales in all 12 keys..?? for 10 hours..??

    do your self a BIG favor..record your practice session..play it back (or as much of it as you can take)..is that what you want to play? are you sure..?
    create a backing track of progressions with the chords of the scales your playing

    time/material management is very important in learning basic skills..

    learn basic chords (major and minor triads) and their inversions in all keys and positions

    start with some blues progressions and tunes

    now you will have something to play basic scales over
    I mean it sounds nice... melodic... but thats not the end product. Scales are just a first step for me thats why I'm practicing so much just to get the scales over with.

    And yes I do know my 3 note chords. All of it actually and in all inversions too

  17. #91

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    Quote Originally Posted by wolflen
    learn basic chords (major and minor triads) and their inversions in all keys and positions
    Imagine doing that for 12 hours (and not going nuts) ...

    I have a (thick) book called "Guitar Chords for Dummies" which seemed like a good idea to buy when I was just starting my guitar journey. It maybe still is, but I've never figured out what to do with it. It reminds me of one of the (other ) weirdos at my 2ndary school, who set out to read his parents' encyclopedia from A to Z...

  18. #92

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    I like what Jens has to say here (he used to be a regular here on the forum). Just something to consider in the use of your time as a balanced student.

    I really like what he has to say and I agree with his observations.

  19. #93

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    Practicing 12 hours a day is crazy. I think the l limit might be 3-5 and then after that it would simply get mushy. I equate this to training and an athlete like a long distance marathoner. The fastest marathon runners do not train the most miles and in fact noted examples of runners who push the envelope only to not start the marathon. You will burn out and crash.

    Another example is those in vowed religious life. They vow to pray daily and be in communication with the God but even those tough Monks do not do it 12 hours a day. I also might add that the great Johnny Smith said that practicing was practicing and playing with playing. Clearly he saw that out playing was what made a guitarist improve the most. I suggest you simply take a break period and reassess priorities in life actually.

  20. #94

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    Yes very true. Experience has taught me the same thing.

  21. #95

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    FWIW, when I was a biology student I routinely made days where I was busy with my study from about 9 to at least 21h, though evidently with breaks for lunch, dinner, teatime and maybe some extra-curricular activities to blow of steam. I'd still call that a 12h schedule...

  22. #96

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    I think it's only excessive if one doesn't have a vision or an evolving set of aesthetics. I remember my first girlfriend. Our time was spent on primarily one thing, if my memory serves me. It didn't seem excessive at the time, as a matter of fact, I just couldn't get enough. It was right for the time. I'm glad I was fortunate to have had that "learning experience".
    Some time later, I worked a job at a fast food burger chain. THAT was excessive. I remember thinking "If I practiced as hard as I work making burgers, I'd be really good by now!". Every night I'd go home so exhausted that I couldn't touch my guitar.
    That experience taught me that I should be possessive of my time and that experience in hell-on-earth prepared me for a life as a musician.
    We are judged by how we use our time. Jazznylon, go for it. Only you will know what will come of your use of time. In the end, it's not about anybody's advice on a silly forum.
    Keep in mind Frank Zappa's advice.

  23. #97

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    Quote Originally Posted by Jimmy blue note
    Keep in mind Frank Zappa's advice.
    But Frank had so much good advice -- which piece do you mean?!?!

    Don't eat yellow snow?!
    Shut up and play yer guitar?
    Call any vegetable?
    Don't do drugs?
    If you love America, vote Zappa; if you hate America, vote Zappa?!


  24. #98

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    Quote Originally Posted by marcwhy
    But Frank had so much good advice -- which piece do you mean?!?!
    Practicing for long hours advice needed..-screen-shot-2022-07-08-8-15-46-pm-png

  25. #99

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    Yes I had some thoughts recently but I think I will be getting a teacher and play with others after 2 weeks in after I finished my major scales in all keys. I will still work on mastering different scales but for 6 hours instead with the other 6 hours dedicated to playing tunes/playing with others

  26. #100

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    Quote Originally Posted by marcwhy
    Don't eat yellow snow?!
    Was that (also) him? In '79 when we visited Canada during winter we bought a couple of funny label pins, one of which showed a dog with those exact words under it.

    Don't do drugs?
    Did he also say "Do as I say, not as I do"?

    Quote Originally Posted by jazznylon
    I will still work on mastering different scales but for 6 hours instead with the other 6 hours dedicated to playing tunes/playing with others
    Would it be kinky if I dared you to show us your fingertips?